Behringer V-Amp3 User manual

Brand: Behringer

Model: V-Amp3

Category: Musical Equipment

Type: User manual

Next-Generation Virtual Guitar

Ampli er with USB Audio Interface

and energyXT2.5 Recording Software

4 all-new plus 28 improved amp

models multiplied by 15 speaker

cabinet simulations give you a total

of 480 virtual combos

USB audio interface included,

featuring stereo I/O, optical S/PDIF

out, direct monitoring and separate

control for phones out

No-latency guitar recording on

your PC—edit and monitor your

sound directly on V-AMP 3 and

record to the incredible multi-

platform music production software

energyXT2.5 Compact

Studio quality multi-e ects including

reverb, chorus,  anger, phaser, rotary,

auto-wah, echo, delay, compressor

and various e ects combinations

125 memory locations pre-arranged

for many popular styles and

embedded in the acclaimed intuitive

V-AMP user interface

Tap-tempo function and many

other parameters directly accessible

on the unit

Presence control adjusts a high-

frequency  lter, simulating the

negative feedback of tube amps

Preamp bypass function allows use

as a stereo e ects processor without

amp modeling

Stereo Aux input lets you play along

to a cue from your PC, CD, MP3 or

drum computer for practice, teaching

and home-recording applications

Playing along with MP3s on a PC

If a lack of money and  oor space is all

that’s been standing between you and

a home recording studio full of badass

vintage guitar amps and e ects pedals,

get ready to love the V-AMP 3. This red

rocker comes loaded with 32 amp models,

15 speaker cabinet models and 16 classic

e ects. But that’s only the beginning—

you also get the UCA222 USB audio

interface and free energyXT2.5 Compact

software. In short, the V-AMP3 gives you

the power to start recording a molten

magnum opus in no time!

Turn your home into a hit

factory—in seconds!

Hook the V-AMP3 up to your computer

using the included ¼" TRS-to-RCA cable

and UCA222 USB interface. Connect

V-AMP3 Phones output with the stereo

line inputs of UCA222, and switch its direct

monitoring function on. Then connect

the UCA222 USB cable to your computer.

You can monitor the signal with the

UCA222’s headphone jack. (This is also a

great way to jam along with the MP3’s on

your computer).

From there, the amazing energyXT2.5

DAW (digital audio workstation) makes it

easy to manipulate your audio and MIDI

 les, turning song ideas into stunning CD

or web-ready recordings. energyXT2.5

includes its own multi-FX processor,

built-in synthesizers and a drum machine,

both of which can be accessed by any

controller keyboard, such as the UMA25S

or UMX series, or programmed in

step-write mode. To learn more about

energyXT, or to download the demo,

visit http://www.energy-xt.com.

Any classic you like

The V-AMP 3’s 32 amp models are

organized into four groups: CLEAN,

BLUES, METAL and ROCK. Just twist the

dedicated dial to plug into unbelievably

authentic simulations of the greatest

British and American tube amps from the

1950s to today. You even get models of

uncommon—yet renowned—boutique

tube amps! When you select an amp

model, a speaker cabinet model is

automatically selected. But if you’d prefer a

di erent model, just go to EDIT>CABINETS,

then use the BANK UP/DOWN buttons to

navigate through all 15 options.

Just like on an actual guitar amp,

you’ve got a three-band EQ, GAIN,

REVERB, VOLUME and MASTER VOLUME

dials. By holding the TAP button, the

TREBLE dial becomes a PRESENCE

control. This enables the adjustment

of a high-frequency  lter that can

add or remove a ”shimmer“ from the

V-AMP 3’s tone.

Continued on next page

V-AMP3

Guitar Modeling/E ects Processors

Page 2 of 5

Top tone—in full e ect

The V-AMP 3 gives you  anger, chorus,

compression, delay and 12 other beautiful

digital e ects to apply to your sound.

Adjust the e ect’s level in the mix via the

EFFECTS dial. To adjust e ect parameters,

you can rhythmically press the TAP

button to alter delay times or LFO speeds,

or hold down the TAP button and twist

the EFFECTS knob to access e.g. feedback

or depth. By using a MIDI pedal, such as

the BEHRINGER FCB1010, you can access

an additional Wah Wah e ect. You can

adjust the  lter characteristic by entering

EDIT mode, selecting the DRIVE menu and

turning the EFFECTS knob while holding

the TAP button.

Presenting the presets

All of these elements have been

combined into 125 di erent presets

divided into 25 banks, accessible through

the BANK UP/BANK DOWN buttons.

Within each bank, you can press buttons A

through E to explore its di erent presets.

You can also create and save your own

presets. Start by selecting a preset, then

making any changes you wish: amp, EQ,

e ect, etc. The preset LED will begin to

 ash, indicating that the V-AMP 3 is ready

to save your settings. To do this, hold

the preset button down for about two

seconds. Once the LED stops  ashing,

you have saved the modi ed preset.

On top of all this, the V-AMP 3 also

features a built-in tuner and noise gate.

In essence, it’s a Swiss Army Knife for the

home recording enthusiast or gigging

guitarist who can’t seem to settle on

one amp.

Stunning in the studio

The V-AMP 3 features several

con gurations that make it an

invaluable asset in the studio. Access the

con guration menu by pressing the B

and D buttons at the same time. Then use

BANK UP and BANK DOWN to select a

con guration.

When using headphones, the V-AMP

3 will switch into Studio Mode 1 (S1).

This stereo mode works well for both

monitoring and recording with e ects,

amp and speaker modeling. It doesn’t

apply the additional three-band EQ to the

signal, but most recording programs—like

energyXT2.5— have their own EQ.

In Studio Mode 2 (S2), the V-AMP 3

sends a signal with amp and speaker

simulation, but only the right output has

e ects. You can either record both left and

right outputs to separate tracks, or record

the ”dry“ left output while monitoring the

right output.

Stellar on stage

The V-AMP 3 has three live

con gurations. When performing live with

this device, you can either run it to an amp

on stage, run directly to the mixing board,

or both. Live Mode 1 is the best choice

for running the outputs directly to the

mixer, because it applies amp and speaker

simulation, e ects and an additional

3-band EQ.

Continued on next page

Balanced stereo Line output can

be con gured for many recording

and live applications

Adjustable auto-chromatic tuner

plus e ective global con gurations

and equalization easily adapts the

V-AMP 3 to any situation outside your

home studio

MIDI implementation includes

program changes, control changes

and SysEx, allowing complete MIDI

remote control or automation with

your energyXT2.5 or other DAW

High-quality components and

exceptionally rugged construction

ensure long life

Conceived and designed by

BEHRINGER Germany

HPS3000V-AMP3

UCA222

USB Audio Interface

Laptop

V-AMP3

Page 3 of 5

Use Live Mode 2 to run the V-AMP 3 into the

e ects return inputs of 2 di erent guitar amps.

This con guration does not feature speaker

simulation, allowing the ampli er’s natural speaker

sound to go unaltered. In this scenario, the amps

would be mic’d on stage to get the sound to the

house speakers, and having a dedicated monitor

would be less important.

In Live Mode 3, you can send the left output to

an amp’s e ects return for onstage volume, while

the right output sends signal to the main mixer for

inclusion in the main house mix.

Also note that you can press the TAP key

while turning the GAIN knob to adjust the input

sensitivity to match the output of your guitar’s

pickups. If the CLIP LED lights, the input's sensitivity

should be reduced.

Computer Recording

Live Setup (Mode 3)

B3031A

UCA222

USB Audio Interface

XENYX 502

V-AMP3

HPS3000

Laptop

VT30FX

XENYX1222USB

MAIN OUT

V-AMP3

FS112V

FCB1010

Veni, MIDI, Vici

The V-AMP 3 comes fully equipped to

 t right into a MIDI (Musical Instrument

Digital Interface) setup. It can be

controlled in real time from a computer,

or via a MIDI foot controller during a

live performance. Its MIDI connectors

are international-standard 5-pin DIN

connectors. You will need dedicated

MIDI cables (not included).

The MIDI IN jack receives MIDI

controller data. It can be adjusted in EDIT

mode by pressing the A button and then

using the arrow keys. MIDI OUT/THRU

sends data to a computer. You can

transmit both preset data and parameter

changes. Some people even use the

V-AMP as a remote control for parameters

of their DAW or VST instruments, which

is more handy than using the mouse

alone. If set to MIDI THRU, the V-AMP 3

does not send its own MIDI information,

but passes on the signal received at the

MIDI IN connector.

So much sound, so little hassle

It’s hard enough  nding another virtual

guitar ampli er with this much versatility,

let alone one as economical as the

V-AMP3. This go-anywhere, do-anything

wonder will leave you reeling in your

own creativity, with cash to spare for

other gear you’ll need along the way to

becoming a sonic titan both live and in

your home studio.

V-AMP3

Page 4 of 5

List of E ects

ECHO Delayed and  ltered repetition of the

input signal.

DELAY Delays the input signal, with di erent tempo

settings emulating an early re ections

room e ect on the repetitions producing an

echo-like e ect.

PING PONG A delay e ect that alternates between the left

and right channel/speaker.

PHASER A second, phase-shifted signal is added to the

audio signal, creating a wave-like e ect.

FLANGER Similar to a phaser in the fact that it produces

wave-like modulation to the guitar tone.

CHORUS Adds a slightly modulated o -key element to the

original signal.

PHASER & DELAY Phaser and delay combined.

FLANGER & DELAY Combines  anger and delay.

CHORUS & DELAY Combines signal delay with chorus.

COMPRESSOR Limits the dynamic range of the audio

material, increasing sustain and giving notes a

crisper quality.

CHORUS & COMP Combines chorus and compression.

AUTO WAH Alters a  lter frequency automatically depending

on the signal’s magnitude, giving notes a vowel

sound-like quality.

TREMOLO Volume is continuously modulated up and down

to an adjustable tempo.

ROTARY Simulation of the classic organ e ect normally

produced by speakers rotating at slow or fast

speed inside a speaker cabinet.

NOISE GATE Removes or reduces noise or other interference

by muting the signal during breaks.

REVERB

NO.

REVERB TYPE QUALITY

1 Tiny Room

Classic room simulation

featuring various room sizes

from bathroom to cathedral

2 Small Room

Medium Room/

Large Room

4 Ultra Room

Special e ect transforming

guitar signals into heavenly

pad sounds

5 Small Spring

Simulations of typical

spring reverbs6 Medium Spring

7 Short Ambience Simulates the early

re ections of a reverbless

room

8 Long Ambience

List of Amps

CLEAN

TUBE PREAMP Tube amps add warmth to all kinds

of sounds. By default, this amp

model does not use a speaker

simulation, and can be used with

vocals, but adding a speaker cab

produces good clean tones.

SMALL COMBO Based on a small, simple amp

originally made for beginners, but

it’s no ”Tender Chump!“ With plenty

of gain, it rewards you with

compression and rich distortion.

CLASSIC CLEAN Shake it up with this model—ideal

for the New Wave sound of the 80s

that is making a comeback today.

TWEED COMBO A close cousin of the SMALL COMBO

model, this super-simpli ed

model will toughen up your tone

blow by blow!

CLEAN V-AMP This model gives you the squeaky

cleans of the CLASSIC CLEAN, but

with the cutting power of one of

the most famous British amps of

all time. You’ll believe in miracles

when you hear this ”plexi“ thing.

CALIFORNIA CLEAN Based on the clean channel of a

certain amp sharing a name with a

big,  at southwestern land form.

BLACK TWIN Modeled after a famous 1960s 2x12

combo amp that was exceptionally

loud with low distortion.

CUSTOM CLEAN Simulation of the clean channel

from a very expensive boutique

amp whose name rhymes with

”stumble“. Loves compression.

BLUES

AMERICAN Based on a timeless 60s 4x10

combo originally intended as a

bass amp but embraced by electric

blues rockers.

FUZZ BOX Not based on an amp, but a

distortion box that debuted in the

60s and provided ”big fuzz“ for 90s

grunge bands.

DELUXE BLUES A synthesis of the AMERICAN and

the BLACK TWIN, giving you a

greater EQ range.

V-AMP DRIVE This simulation is based on a

more modern high-gain lead amp

that’ll make you wanna boogie.

This produces a smooth and precise

tone with plenty of drive, making it

ideal for lead guitar work.

BRIT BLUES Based on an amp that was

considered the “cream” of the crop

in the psychedelic 60s. Try it with a

2 x 12" speaker simulation.

V-CRUNCH Ideal for modern blues or jazz.

Its sound is subtle, but crunchy

and dynamic.

CUSTOM BLUES Like the BRIT BLUES, but capable

of a thick boutique distortion tone

when the GAIN is cranked!

BRIT CLASSIC 50 W 50 W blues breaker sibling of our

Brit Classic model with extensively

widened sound range.

METAL

NUMETAL GAIN Based on a 90s amp also bearing

that big,  at southwestern name,

featuring a post-gain tone control

for ultra-customized distortion.

NUMETAL HD Much like the NUMETAL GAIN,

this amp produces an even higher

gain sound. The tone controls

are most e ective with the gain

knob cranked.

SAVAGE BEAST Half-English, so to speak, this

model has extreme power and

is therefore highly popular with

heavy metal guitarists.

CUSTOM HI GAIN Based on a variation of the BRIT

BLUES, modi ed by a famous

eruption-inducing guitarist’s

technician. Great midrange without

the mud!

BRIT HI GAIN Modeled after a big, bad stacked

British amp renowned for its

distorted sounds, but also great on

low-gain settings.

MODERN HI GAIN Another model with post-gain

EQ, this amp can easily go

from fuzzed-out grunge to

laser-guided shredding.

NEW! ULTRAZONIC New, aggressive, in-your-face

hi-gain sound similar to the crunch

channel of the BUGERA 333XL.

Excellent for detuned, palm-muted,

fast rhythm guitar ri s.

ULTIMATE PLUS Those who  nd the ULTRAZONIC

too tame will  nd enough gain

here for an overdose, and nearly

endless sustain.

ROCK

NEW! ROCK 59SL Stands out for its extremely

dynamic rock sound, dishing out

fat clean tone as well as solid

crunch. Here both input channels

are bridged for parallel operation.

BRIT CLASS A Simulation of an iconic double-

wide British amp that helped a

quartet of longhairs cause mass

panic in the 1960s.

NEW! HI BRIT 100 Modeled after a custom high-watt

amp that’ll have your audience

wondering, ”How do you think

he does it?“

CUSTOM CLASS A Simulates an amp sharing a

name with an obese Asian deity.

Renowned for its warm sound

combined with irresistible tube

distortion. Although the original

amp does not have a mid control,

we have given the capability of

suiting the midrange to your taste.

NEW! AMBER 120 Based on an amp that brings

citrus-laden goodness to mind.

Perfect for vintage distortion

freaks. If you crank the gain,

the preamp tone controls greatly

in uence the sound.

CLASS A NORM This amp is characterized by its

mild distortion and sounds almost

like hi- . If there’s any match for

this amp, we ain’t found it!

BRIT CLASSIC Based on the second channel of our

59SL amp model, this one provides

a slightly darker range of clean and

crunch sounds.

BRITISH CLASS A 15 W Unlike the BRIT CLASS A, this amp

had only one 12" speaker and

produced a warmer sound. Tip:

to make this simulation sound as

authentic as possible, leave the

BASS and MID controls in middle

position and adjust the TREBLE

control only.

PREAMP BYPASS In this setting, no amp simulation

is selected. This makes it possible,

for example, to play through an

external guitar preamp and only

use the e ects or the speaker

simulation. To activate the PREAMP

BYPASS, press TAP and TUNER

simultaneously.

V-AMP3

Page 5 of 5

©2011 Red Chip Company Ltd. Technical speciﬁ cations and appearance subject to change without notice. The information contained herein is correct at the time of printing. All trademarks are the property of their respective owners. BEHRINGER accepts no liability for any loss which

may be suﬀ ered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. 985-10000-00367

For service, support or more information contact the BEHRINGER location nearest you:

Europe Tel.: +49 2154 9206 4149

Fax: +49 2154 9206 4199

USA/Canada Tel.: +1 425 672 0816

Fax: +1 425 673 7647

Singapore Tel.: +65 6845 1800

Fax: +65 6214 0275

Australia Tel.: +61 03 9877 7170

Fax: +61 03 9877 7870

Japan Tel.: +81 3 5281 1180

Fax: +81 3 5281 1181

¼" LINE OUT

balanced left and

right outputs

AC IN

MIDI IN

and MIDI

OUT/THRU

TREBLE doubles

as PRESENCE

when TAP is

pressed and held

FOOTSWITCH jack

accommodates

any non-latching

footswitch, i.e.

FS112V

Preset

VOLUME

control

TUNER and Exit

button

MASTER

VOLUME

CONFIGURATION Preset A…E

buttons select the bank’s presets,

but also live/studio con gurations,

MIDI settings, drive intensity,

cabinet models, reverb varieties

and noise gate intensity

Bank display

with clip and

tuner LEDs

BANK UP/

BANK DOWN

buttons

TAP determines

2nd parameter

of e ects and

functions

EFFECTS level also

doubles as a 2nd e ects

parameter control

¼" Guitar

INPUT

PHONES

jack

AUX IN

EFFECTS

selector

AUX LEVEL

for AUX IN

jack

REVERB

dial

Hold TAP to

select amps

17-32

BASS

MID

GAIN

AUDIO INPUTS

INSTRUMENT INPUT ¼" TS connector, unbalanced

Input impedence 1 Mohms

Max. input level +9 dBu

AUX IN STEREO ¼" TRS stereo connector

Input impedence 15 kohms

AUDIO OUTPUTS

ANALOG LINE OUTPUTS L/R ¼" TRS connector, balanced

Output impedance 2.2 kohms

Max. output level +20 dBu

HEADPHONES CONNECTOR ¼" TRS stereo connector,

unbalanced

Max. output level +15 dBu/100 ohms (+23 dBm)

MIDI

Type 5-pin DIN connector IN, OUT/THRU

DIGITAL SIGNAL PROCESSING

Converter 24-bit delta-sigma,

64/128 x oversampling

Dynamics A/D 104 dB @ preamp Bypass

Dynamics D/A 92 dB

Sample rate 31.250 kHz

DSP 100 Mips

Delay time max. 1,933 msecs.

Latency approx. 5 msecs.

(Line In to Line Out)

DISPLAY

Type 2-digit 7 segment LED display

POWER SUPPLY

Mains voltage

USA/Canada 120 V~, 60 Hz

UK/Australia 240 V~, 50 Hz

Europe 230 V~, 50 Hz

China/Korea 220 V~, 50/60 Hz

Japan 100 V~, 50/60 Hz

Power consumption 13 W

Mains connection external power supply unit

DIMENSIONS/WEIGHT

Dimensions 3 x 10 ¼ x 7"

(H x W x D) 78 x 260 x 180 mm

Weight approx. 2 3/4 lbs

approx. 0.8 kg

Please note these speci cations are preliminary and conceptual in nature,

and as such are subject to change as product development progresses.

This information is supplied for market research purposes only and is not

to be made public in any manner. This document is solely the property of

The MUSIC Group, or one of its subsidiaries, and must be surrendered upon

request of the owner.

V-AMP3

Behringer V-Amp3 User manual

Brand: Behringer

Model: V-Amp3

Category: Musical Equipment

Type: User manual

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Behringer V-Amp3 User manual

Behringer V-Amp3 User manual

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